Board gaming in November 2023

If you’re curious about what board games are currently popular, Boardgame Geek is a great resource to check out. They track thousands of games and have several board gamers clocking their plays on the website. While this may not be indicative of the global market, it certainly offers an intriguing snapshot of what is being played and what isn’t.

For November, BGG claims that 18,567 votes were cast on the games featured on their website, with an average of 371 votes per game listed. What’s remarkable about this list is that there are no new titles from 2023. Instead, the games listed mostly span from those published from 2002 to the most recent ones published in 2022. Perhaps things will change in 2024… only time will tell.

Before we dive into BGG’s top ten games for November 2023, I’d like to highlight a game that’s currently ranked 25th on the list. The game is called Wingspan, designed by Elizabeth Hargrave and is currently one of my favourite titles. It was released in 2020 and features ornithologists trying to free birds into three distinct biomes. Players will have to obtain food and eggs to free birds, which they take from the main deck into one of the three biomes. Each card has its own set of rules and actions, which together allow players to gain victory points both on a round-by-round basis and at the end of the game for a total final score.

Now let’s have a look at the top ten most played games as voted for on BGG for November 2023.

 

Top 10: November 2023

At number 10 we find Star Wars Rebellion, published in 2016. In Star Wars Rebellion, you control the entire galactic empire or the fledgling rebel alliance. You must command starships, account for troop movements, and rally systems to your cause. Each side has different win conditions, and you will need to adjust your play style depending on who you represent. The game features more than 150 plastic miniatures and two game boards that account for 32 of the Star Wars galaxy's most notable star systems. Rebellion is praised for being intensely personal, cinematic, and deeply heroic in scope.

At number 9 we have War of the Ring: Second Edition initially published in 2012. In War of the Ring, one player takes control of the free peoples, while the other controls shadow armies. Initially, the free people nations are reluctant to take arms against Sauron, so they must be attacked by Sauron or persuaded by Gandalf or other good characters before they engage in open conflict. The game is dice-driven, but there are sufficient choices and decision-making opportunities that player actions will tend to mitigate the luck of the draw and favour more acute strategic choices.

At number 8 we have Gloomhaven: Jaws of the Lion, published in 2020. Jaws of the Lion is a compact, smaller version of the monumental Gloomhaven. It still employs the card-based, dice-less mechanism found in the larger game while also introducing the mercenary outfit called the ‘Jaws of the Lion’. The game is strongly RPG in flavour and execution, with a generous helping of skirmishes and near misses. While it’s not extremely difficult to teach (I even taught my 8-year-old to play it), it might prove harder to master. The trick is to always work as a team, and you need at least 4 players to get the best out of this lovely game.

At number 7 we find the impressive and deeply immersive Dune: Imperium, also published in 2020.  This is a competitive game where players take on one of 6 factions eager to take control over the planet Arrakis, also known as Dune. Each faction comes with its own skills and abilities. Diplomacy and renown with specific factions become key towards controlling spice production and ultimately the overall rulership of the lucrative spice trade.

 

At number 6 we have Terraforming Mars, published in 2016. One of the most eclectic games published in that year and which gave rise years later to a smaller format, Terraforming Mars: Ares Expedition. In this game, players compete to establish economic footholds on the Red Planet while at the same time contributing towards terraforming its barren landscape. Great table presence and immersive theme make this a beloved game among aficionados.

 

Ranked at number 5, Twilight Imperium is an oldie but a goodie that still holds its own against the best of the crop. The game was originally published in 1997 and was given a 4th edition in 2017. Deemed a grand and expansive space opera, this game unveils a chaotic universe grappling with the aftermath of the Lazrax empire's centuries-long disintegration. Players take on the mantles of great leaders from rising empires vying for military and political control until one player succeeds in becoming sufficiently dominant to be crowned emperor. This is a beast of a game that can take up to six hours to resolve (without expansions).

 

At number 4 we have the Zoo building simulation, Ark Nova. This game first published in 2021, allows you as a player to plan and design a modern, scientifically managed zoo. All this to own the most successful zoological establishment.  To do so, you will build enclosures, accommodate animals, and support conservation projects all over the world. Theme and artwork as spot on, and while it comes with several components, it is straightforward to teach to consummate board gamers.

Ranked at number 3 we find the big box board game “Gloomhaven”.  This game can be considered the big brother of “Jaws of the Lion” (featured earlier at number 8) and was first published in 2017. This is a tactical combat game where players take on the role of wandering adventurers, banding together to clear out dungeons and mysterious ruins. In the process, players will level up their in-game characters, gain loot, discover new locations, and expand a tale fuelled by their own decisions. Gloomhaven offers a campaign setting that would need to be settled over several long sessions. This is a game made by gamers for gamers, and unless you have a dedicated board gaming group, I would not recommend indulging in this colossal offering.

At number 2 we have Pandemic Legacy: Season 1, published in 2015. The Pandemic franchise is, in my opinion, the gaming system that popularized cooperative games. While cooperative games existed before Z-Man published the game, they came up with a gaming mechanism that made AI-driven board games easier to manage with in-game mechanics that players could quickly learn and execute. It’s fair to say that the Pandemic cooperative gaming system is still one of the most played within its genre. Legacy: Season 1 adds another layer by making decisions taken during the proposed campaign permanent. Each decision taken will affect whatever actions and options will be available during the later stages of the campaign.

Brass Birmingham has taken the #1 spot for November 2023. With 20 awards under its belt, this game, originally published in 2018, can be considered a heavyweight in the board gaming world. Designed by Mark Wallace, it’s an economic strategy game that tells the story of competing entrepreneurs in Birmingham during the Industrial Revolution. The game has been praised for its deep, strategic gameplay, beautiful thematically consistent artwork, and replayability. The game and player boards are of superb quality, and the poker chips add extra flair to the gameplay.

Notable mentions

Before closing this foray into what board game players were playing this November, I’d like to mention three noteworthy titles that are currently rising fast as gamer favourites.

Dune: Uprising is a standalone spinoff to Dune: Imperium that expands on that game's blend of deckbuilding and worker placement while introducing a new six-player mode that pits two teams against one another in the biggest struggle yet.

Mycelia is a deck-building game designed by Daniel Greiner and published by Ravensburger in 2023. The game is set in a magical forest where players take on the role of creatures, carrying dewdrops to sacred temples amidst their fields, all along trying to be the first to finish their field.

The game has been praised for its easy-to-learn deck-building mechanics, quick pace, and replayability. It has also been updated with new expansions that add more depth to the economic engines each player has to build. It has colourful and whimsical artwork that is thematically consistent with the game’s setting. The game’s easy-to-learn mechanics and fast pace make it a great choice for both beginners and experienced players alike.

 

Heat: Pedal to the Metal is a racing board game that has been designed by Asger Harding Granerud and Daniel Skjold Pedersen and published by Days of Wonder. The game is for 1 to 6 players and takes about 30 to 60 minutes to play. The exceptional card system designed by Asger Granerud and Daniel Pederson comes across as a revision of their previous hit bicycle racing title, Flamme Rouge 2. The game has been praised for its innovative mechanics, fast pace, and replayability.

Thank you for joining me in this special board game review. I hope you found the reviews informative and helpful. The board games that were the hottest and most played in November 2023 included Brass Birmingham, Pandemic Legacy: Season 1, and Gloomhaven.

The board game industry is constantly evolving, and new games are released all the time. Therefore, I will be uploading another edition of this special board games review next year in June. Be sure to come back and join me once again to find out which games are the hottest and most played at that time.

Until then, happy gaming!

 

Summary of Top 10 games (November 2023)

1. Brass Birmingham
2. Pandemic Legacy: Season 1
3. Gloomhaven
4. Ark Nova
5. Twilight Imperium
6. Terraforming Mars
7. Dune: Imperium
8. Gloomhaven: Jaws of the Lion
9. War of the Ring: Second Edition
10. Star Wars Rebellion

Board Game Gift Ideas - 2023

Christmas is coming, the goose is getting fat

Please [do] put a penny in the old man's hat

If you haven't got a penny, [then] a ha'penny will do

If you haven't got a ha'penny, [then] God bless you!

 

It’s that time of the year again and I am sure that some of you are already scrambling to buy some presents for your kids and loved ones. As I did the previous year, I would like to put together a list of board games you might want to consider as gift ideas. This year I decided to focus on three categories, the first is the pre-teen 7 to 11 bracket since I happen to have one such kid myself. The second category is “family games” since these are among the first a child experiences growing up. The final recommendations are linked to cooperative games, a gaming genre I particularly enjoy.

In my opinion board games can be a great way to have fun, learn new skills, and bond with family and friends. Kids aged 7 to 11 are ready for more challenging and diverse games that can stimulate their creativity, logic, memory, and social interaction. Here are my selections for possible options you might be willing to try out.

 

7 to 11 Age Group

Ticket to Ride: First Journey: This is a beginner-friendly version of the popular train game Ticket to Ride, where players collect cards and claim routes across a map. Kids will learn about geography, planning, and cooperation while enjoying the colourful and detailed artwork. Ticket to Ride: First Journey is suitable for 2 to 4 players, and each game lasts about 15 to 30 minutes. However, as I often recommend, do set aside an additional 15 to 20 minutes if you will be playing this game for the first time.

 

Boggle: This can now be considered a classic word game where players shake a grid of letter dice and try to find as many words as possible in a limited time. Kids will improve their spelling, vocabulary, and speed while competing with others. Boggle is suitable for 1 or more players, and each game lasts about 3 minutes. This game offers some sensible flexibility due to the short duration and players can agree to play the best of 5 or 10 games depending on the willingness of the players.

Dobble: This is a fast-paced observation and reflex game. Kids match symbols between cards, enhancing visual perception and attention skills. Its simple rules make it suitable for various age groups but works well with pre-teen players. Again, due to its simple structure and short duration, Dobble could be used as a filler game before or after that a larger board game is brought to the table.

Kingdomino: This is a tile-laying game where players build their kingdoms. It's easy to learn, yet strategic, fostering critical thinking and planning skills. Turns are quick and tiles for each player’s tableau of 5X5 squares are drafted following a simple drawing mechanism. It’s fun while being sufficiently linear to draw in young players with ease.

Scrabble Junior: This is a more colourful version of the classic word-building game. As with regular Scrabble, players are invited to make out the best words with whatever tiles they draw. A great way to strengthen spelling, and word recall as well as teach some basic strategic skills. This version could also become a springboard to the full game, often overlooked as a gift idea but with a keen following the world over.

 Family Games

Okay, now let’s look at some great games that work well in a family setting. Normally here we are thinking of games that play well in a mixed-age group, and which don’t put younger kids at a disadvantage. You basically want games that don’t put adults in an awkward situation whereby they would need to impose handicaps or play loosely to aid the younger players.

You can never go wrong with Carcassonne. Carcassonne is a tile-laying game where players strategically place tiles to create a medieval landscape, earning points for roads, cities, monasteries, and farms. This game teaches strategy, spatial reasoning, and resource management. Its simple turn-taking mechanism and brief ruleset make it an ideal easy-to-teach game for young ones within a family setting.

Codenames is a word association game where two teams compete to identify their secret agents by using one-word clues. This game promotes creativity, teamwork, and lateral thinking. At its core, Codenames is a race to decipher the secret identities of undercover agents before the opposing team can.

If code-breaking is not your thing, why not take your family to Tokaido. Tokaido offers a peaceful and scenic journey game where players travel along the East Sea Road, collecting souvenirs, encountering travellers, and enjoying the beauty of Japan. This game emphasises relaxation, planning, and resource management. In Tokaido, players take turns moving their meeples along the route, drawing destination cards, collecting resources, and performing various actions at designated intersections. Each player's turn ends when they have either completed their movement or decided to pass. The next player then has their turn, and the process continues until the game ends after a predetermined number of turns or when a player reaches the destination.

Sushi Go! Party! Is an expanded and more chaotic version of Sushi Go!, with more cards, special abilities, and scoring options. In Sushi Go! Party!, players take turns simultaneously revealing their hand of sushi cards and deciding whether to keep the card for their own score or pass it to the left or right. Once all players have passed their cards, the next round begins with new cards. This process continues until all cards have been played. This game provides more strategic depth and replay value for families.

7 Wonders: Architects is a fast-paced, family-friendly game of card drafting and resource management for 2-7 players. It is a simplified and streamlined version of the original 7 Wonders, making it a great choice for new players or those who want a quicker game experience.

In 7 Wonders: Architects, players take turns drafting cards from a pool of face-up cards, and then using those cards to construct their wonders and score points. Cards can be used to build structures, gather resources, or develop scientific advancements. Players also can trade resources with each other or with the bank.

At the end of the game, players score points for their constructed wonders, scientific advancements, and unspent resources. The player with the most points at the end of the game wins.

Cooperative Games

In this last section, I intend to focus on cooperative board games. In the realm of board games, cooperative games stand as a testament to the power of teamwork and collaboration. Unlike competitive games where players strive for individual triumph, cooperative games emphasize united effort towards a common goal, fostering a sense of camaraderie and shared accomplishment.

Cooperative games serve as exceptional icebreakers for groups of individuals, particularly those with limited interactions or unfamiliarity. By immersing players in a shared objective, these games encourage open communication, strategic thinking, and a willingness to embrace the unique strengths of each team member.

 

Forbidden Desert: Players here embark on an exhilarating adventure in a vast desert landscape where teamwork is the key to survival. In this cooperative game, players unite to unravel the secrets of a buried flying machine, its fragments scattered across the unforgiving dunes. As time relentlessly ticks away, players must collaborate strategically, manage their resources wisely, and overcome treacherous obstacles to piece together the legendary aircraft before the desert reclaims it forever. This engaging game offers an easy-to-learn yet deeply challenging and strategic experience, making it an ideal choice for families and groups of friends seeking a shared adventure.

 

The Crew: The Quest for Planet Nine: A cooperative trick-taking game set in space. Players work together to complete missions and discover the mysterious Planet Nine. It's innovative and fosters communication. One of the key strengths of The Crew lies in its ability to seamlessly blend the familiar elements of trick-taking with cooperative gameplay. Players must work together to achieve common goals, relying on each other's strengths and overcoming communication barriers. Another standout feature of The Crew is its innovative use of hand signals and player roles. These elements introduce a unique layer of communication and deduction, adding to the strategic depth of the game.

Flash Point: Fire Rescue: In this game, players work as a firefighting team to rescue people and pets from a burning building. It emphasises teamwork, decision-making, and spatial awareness. The game's immersive theme, strategic gameplay, and tense atmosphere make it an exhilarating experience for both casual and experienced gamers. The game's mechanics and components effectively capture the essence of firefighting, from the unpredictable behaviour of the fire to the tension of rescuing trapped civilians. Players feel the pressure of time and the weight of their decisions, adding a layer of realism and excitement to the gameplay.

 

Gloomhaven: Jaws of the Lion: A cooperative campaign-style game set in a fantasy world. It's more complex but provides an immersive experience for families looking for a longer gaming adventure. Gloomhaven: Jaws of the Lion is a standalone expansion for the popular dungeon-crawling game Gloomhaven. It is a great introduction to the world of Gloomhaven, with a streamlined ruleset and a shorter campaign. The game is also smaller and more portable than the original Gloomhaven, making it easier to take with you on the go.

 

5-Minute Dungeon: This is a cooperative game where players work together as a team of heroes to defeat a series of dungeons in 5 minutes or less. Players will use cards, symbols, and quick thinking to overcome obstacles and enemies. 5-Minute Dungeon is suitable for 2 to 5 players, and each game lasts about 5 minutes. The game is easy to learn and teach, and it's perfect for a quick game night or family game night.

That concludes my recommendations for board games in all three categories. Some of these suggestions can be found at local stores, though you may need to call ahead to ensure availability. Others are available through online retailers like Amazon or AliExpress.

Before signing off this pre-Christmas blog, I'd also like to extend my warmest wishes for a joyous and peaceful Christmas with your loved ones. May you all find the time to meet up, play a few board games and share a few laughs, because, at the end of the day, life is all about the memories and experiences we share together.

Splendor: A 10-year Journey through gemstone-filled prosperity

In the realm of board games, there exists a select group of titles that have transcended mere entertainment to become cultural touchstones, introducing countless individuals to the captivating world of tabletop gaming. Among these gems, Splendor stands out as a shining example, charming players with its intuitive gameplay, cool aesthetic, and strategic depth.

In 2024, Splendor will celebrate its 10th anniversary. These have been 10 productive years for both the game and its original designer, Marc André. With three iterations of the game published, including one expansion, and well over a million copies sold to date, Splendor's future looks promising.

Having played, and presently own, all the games in the Splendor line of games, I can attest to their enduring appeal. Splendor, the original 2014 offering, is a clear example of simple yet engaging game mechanics. The game revolves around acquiring gem tokens, representing precious stones, to purchase development cards, each offering unique benefits. In most cases, development cards offer discounts towards the next card purchase, some of them also offering prestige points. These points are at the very heart of the game since players need to reach 15 prestige points to win the game. For this reason, players strive to collect specific sets of cards, granting them prestige points and ultimately leading to victory.

My wife, while not an avid board gamer, found herself attracted to Splendor's elegant simplicity and the thrill of outsmarting her opponents in the pursuit of the elusive 15 prestige points. The game's accessibility, combined with its strategic depth, has undoubtedly contributed to its widespread popularity, earning it a place among the most beloved gateway Eurogames.

The expansion, Cities of Splendor, introduced new gameplay elements, expanding the game's scope and strategic options. Players could now establish trade routes between cities, earning additional prestige points and unlocking new development cards. My wife, having mastered the base game, embraced the expansion's added complexity, immersing herself in the world of expanding trade networks and gemstone-fuelled races to the finish.

Our son Neil, an enthusiastic gamer at the tender age of eight, simply loves Marvel Splendor. The game's superhero theme immediately resonated with him, and he quickly grasped the core mechanics, albeit with a slight bias towards collecting his favourite heroes rather than focusing on the strategic path to victory. My guess is that he will be giving me a substantial challenge once he realises that there are other, better ways to win. 

The latest addition to the Splendor family, Splendor Duel, takes the game to a more intimate two-player experience. The core mechanics remain almost intact, but the game introduces new elements, such as duelling for gem tokens and acquiring noble favour tokens to gain an edge. The game was co-designed with Bruno Cathala, an established 2-player game designer with some noteworthy games under his belt. 

Splendor Duel introduces some interesting twists to the turns taken as well as the introduction of Favours and Pearls. The game comes with three “favour” scrolls that function as a sort of in-game advantage that can be traded for specific actions. Pearls on the other hand are extremely rare (only two of them) and can affect the outcome of a match. 

At the start of a game, the gem tokens are also randomly arranged on a square board and laid out in a spiral fashion. As can be imagined, during the game tokens will leave the board as they are taken up by either player. However, there is a way for these tokens to return to the board. When players trade in tokens for development cards, they deposit the used chips into a cloth bag. When the board is all but cleared of tokens or perhaps a player wants specific tokens back in hand, he or she can return the tokens to refill the board, but his opponent gets a favour in the process. The player filling the board however gets a chance to be first to pick from the refilled board. 

Favours are also used during the game as a means of equalising seemingly overpowered actions. For instance, if a player picks up both pearls in one action from the board, his opponent gets a favour. If he gathers three gems in one colour from the board, his opponent also gets a favour. Furthermore, a player may optionally use a favour at the beginning of a turn to gather one gem from the board, returning the used favour to the common pool. 

If at any time one player needs to take a favour and none are available in the common pool, then he may take a favour token from the opponent. At no point can a player exceed the three-favour limit.

As in the original Splendor, a player may only have up to 10 tokens in his hands including gold tokens (there are three in this game). As in the original, gold tokens may be taken from the board only as part of a “reserve card” action. Thereafter the player can use that gold coin as a wild token, that is, as any coloured gem. 

A player may also not reserve more than three development cards, this is obviously linked to the number of gold tokens available. Also, if there are no gold tokens available on the board, a player cannot reserve any card. 

In addition to the core mechanisms from Splendor, Splendor Duel introduces several new gameplay elements through the development cards. These cards feature various icons that represent unique actions and abilities.

Crown icons allow players to acquire prestige points from nobles (you need 3 crowns for the first noble and 6 for the second) or contribute to one of the three victory conditions, which require accumulating a specified number of crowns. A short side note on the nobles, players may only acquire up to 2 nobles, that is you don’t get a third noble if you acquire 9 crowns.

Some development cards allow players to pick an additional token from the board upon its acquisition, while others function as wild gems, capable of representing any gem colour during gameplay.

Certain development cards permit players to take a token of their choice from their opponent's stock, while others provide an extra turn immediately after being acquired.

Regarding wild gems, there is an important caveat linked to one of the victory conditions: achieving ten gems of the same colour across development cards. To ensure fair competition, all players must arrange their acquired development cards in orderly colour-coded columns. This means that while wild gems can represent any colour initially, they become permanently fixed to the chosen column once placed.

Splendor Duel presents 3 distinct victory conditions: accumulating 10 crown tokens, or attaining 10 gems of the same colour, or reaching 20 prestige points. Among these, reaching 20 prestige points is challenging but not impossible. Players pursuing this strategy should focus on acquiring prestige points primarily through nobles and high-value cards. Achieving 10 gems of the same colour could be a more frequent route to victory. Crown tokens can be more elusive, but even acquiring 6 crowns can be sufficient if the game situation dictates a shift towards the 20-prestige point victory condition.

Through careful observation of some Splendor Duel playthroughs on the internet, I've identified specific pitfalls to avoid on the path to victory. While replenishing the gem supply may seem like a beneficial strategy, doing so excessively can hinder your progress and grant your opponent an advantage. Similarly, indiscriminately reserving cards can impede your advancement and cost you a minimum of three turns (due to the three-card reserve limit).

Moreover, the additional actions featured on development cards hold significant value beyond the gem acquisition they provide. An extra turn at a crucial moment can propel you forward in pursuit of one of the victory conditions. Conversely, a misstep or failure to anticipate your opponent's countermove could cost you the game.

Splendor Duel demands careful consideration of each decision, transforming every turn into a strategic puzzle that will keep you on the edge of your seat.

Splendor's enduring popularity stems from its ability to cater to a wide range of players, from casual gamers seeking a light and engaging experience to seasoned strategists craving a more intellectually stimulating challenge. The game's elegant design, charming theme, and satisfying gameplay have cemented its place as a modern classic, ensuring its continued appeal for years to come.

As an avid board game hobbyist, I cannot but recommend Splendor to anyone seeking a rewarding gaming experience. Its blend of accessibility, strategic depth, and charming aesthetics has earned it a well-deserved spot among the most beloved board games of our time. Whether you're a seasoned gamer or a curious newcomer, Splendor promises an enriching journey into the world of gemstone-fuelled prosperity and strategic brilliance.

Artwork and artistry in Digital boardgames

 

Computer technology has had a major impact on our lives and how we grow as individuals in society. In the past, human thoughts and ideas were expressed through physical media such as stone, clay, wood, printed paper, and music. However, this is no longer the case. Computer displays are now everywhere, and we also interact with embedded computers in many of our daily tasks.

If we consider the first two means of conveying art to the masses to be impression on diverse physical media and music, and the third to be television and films, then computers and the internet have become the fourth means of conveying art.

For a while in the early 1980s and 1990s, as computers became more pervasive and omnipresent in our lives, art remained aloof, doing its own thing while the world around it changed.

Computers, and particularly the internet, have also transformed the way we consume information, both for academic and leisure purposes. As an example, I would like to direct your attention to something seemingly trivial, like choosing a new book. In the past, I would be excited to choose a new book to read. I would regularly visit my favourite bookstore in the capital city, browsing through many titles before choosing one that would keep me company for the ensuing weeks. It was a slow and analogue process of sifting, comparing, and choosing, which has since been replaced by cold, rapid digital searches offered by online bookstores.

The older, analogue process of bookselling was limited by the booksellers' personal preferences and the tastes of their customers. Booksellers were influenced by what they saw at book fairs and other events, as well as by what their customers typically bought. In other words, the selection of books in a bookstore was largely up to the bookseller, who was limited by their knowledge and experience. This could lead to a more diverse and eclectic selection of books, but it also meant that customers might not always be able to find what they were looking for.

The digital transformation of traditional media has, in the meantime, reached a critical mass, and art has had to adapt and transform. This is most evident in digital games. Digital game designers have expanded their field of operations from one that was built around the limitations of early computers, to one that embraces 3D visual arts, user interface design, and witty logic puzzles. They have also shifted their focus from marketing input in terms of box and packaging art to more direct in-game design and aesthetics.

This has all been possible thanks to the exponential growth in computing power. With more power available, computers can now render realistic 3D worlds at mind-boggling speeds. 3D rendering engines like Unreal 5 can even convince sceptics that virtual spaces will undoubtedly impact our future consumption of art.

...because this is art.

We may have grown to accept the inclusion of digital creations as part of what we may think of as the art panorama but often, art still hangs on to its roots using the tools and media which have been the mainstay of its trade for millennia. Artists and painters will continue to wrestle with inks and paints on physical canvases, and they will still model familiar media into intriguing expressions of thought and perception. Yet now, these same artists will not shy away from adopting digital canvases and witty interfaces that mimic the old medium of pen, pigment, and ink. They will also create 3-dimensional models of such rich complexity as was impossible in the past.

What modelling used to happen exclusively in the mind or transposed into an “abozzo” for the consumption of a patron of the arts, can now be developed as detailed 3D models and subjected to various virtual ambient settings to assess properties and appearance within a realistic setting. 

As we witness the evolution of digital art, particularly in the arena of computer games, it is intriguing to see where designers choose to focus their efforts. One notable area is the rich ecosystem that has developed around the online, digital distribution of video games. This has led market leaders in the digital gaming sector to rethink how games can generate revenue, while also simplifying distribution and streamlining the dissemination of software patches and upgrades to end users.

 

Similarly, independent developers and game designers, often small outfits, have gained equal access to a vast market through well-established distribution channels such as Steam, GOG, and the Microsoft App Store. This has given them the freedom to publish even the most outlandish games, often at modest prices, making them accessible to any gamer willing to try them out.

While large companies working on "AAA games" still tend to hire a large team of developers, designers, musicians, and marketers, this does not prevent smaller teams from trying their luck with fewer resources and more modest games. This increased competition has led to a surge in the number of game titles available.

There are a lot of digital games out there. As of June 2023, Steam had nearly 30,000 titles available for download, and the number is only increasing. You can find everything from AAA games to indie games to retro games. Most of these games are there because someone felt inspired to make them. They are all, to some degree, the artistic expression of individuals who spent hours working on them. If you don't like a particular game, that's subjective, just like how some people don't like certain modern art styles.

Some of these indie games are strange and exploitative, rehashing successful ideas without adding anything new. The lack of refinement is often noticeable, and the games may contain political messages from fringe or minority groups. In a way, these games become a form of artistic expression for these groups.

Powerful gaming hardware and reliable internet connectivity have made it possible to create digital board games that were unimaginable just twenty years ago. The recent pandemic, which forced people to interact remotely more often, also contributed to the popularity of multiplayer digital board games.

At the same time, the COVID lockdown also led to an increase in the sales of physical board games, as families and groups looked for ways to entertain themselves during lockdowns and quarantines. Those who found it difficult to play physical board games turned to digital board game adaptations.

The pandemic increased demand for both physical and digital board games, which meant more work for manufacturers and artists. This increased competition also made quality art more important, as games with average or poor artwork are less likely to succeed.

Digital adaptations of board and card games have been around for a long time, but the recent growth of the internet has led to more elaborate and immersive digital board games.

One of the first digital adaptations of a modern board game that I played was Star Realms, a card game about two players trying to reduce each other's score from 50 to 0. The graphics, sound effects, and musical score all play a strong part in the game's success.

Another digital board game that I have played extensively is Ascension, a deck-building card game with a fantasy theme. It is less aggressive than Star Realms and some players may not appreciate its low-key approach. However, the digital version of Ascension reduces downtime because the computer AI acts instantly.

Not all digital board games are created equal. Some games, like Lords of Waterdeep and Raiders of the North Sea, have excellent user interfaces and player engagement. Others, like Root and Fox in the Forest, fall short.

Root is a difficult game because it is highly asymmetric, meaning that each faction has different goals and plays differently. The digital adaptation of Root assumes that players will have access to the rulebook before playing, which is a bad assumption. Even if players know the rules, the digital adaptation is still difficult because of the game's asymmetry.

Fox in the Forest is a simple card game with beautiful artwork. The digital adaptation of Fox in the Forest has a user interface that hides the card-based nature of the original game. This makes the game feel less like a card game and more like an abstract game.

Everdell is a whimsical board game where players build villages inhabited by anthropomorphic animals. The digital adaptation of Everdell is excellent, adding to the experience by making the tree come alive and rendering the space where the cards are tabled in a thematic and visually appealing way. Players still get to see cards where they are meant to be and manipulate the various game components, but everything is streamlined, and in-between-turn upkeep is facilitated by the game's AI. Animations add to the quaintness of the experience, and the music and sound effects are excellent.

Digital adaptations of board games can be a mixed bag. Some, like Everdell, offer a good blend of artistry, interface design, and ingenious AI implementations. Others are bland, badly put together, or even misleading.

Digital board games, and video games in general, benefit from strong artistic input. There is still room for artistic expression in this modern context, which in many cases expands the reach and venues of art. Modern artists use 3D modelling, traditional media, motion capture, and other skills to bring their ideas to life. However, artists in this context cannot work in isolation; they must be able to collaborate with programmers and developers to tweak and refine their creations to fit the game's narrative.

When it comes to digital adaptations of board games, the details matter. Great artwork is not enough on its own. The artistic expression must be balanced with good music, programming, and intuitive design decisions. When all these things come together, the game can be considered a success.

The importance of artwork and artistry cannot be overstated in the development of any game, including board game adaptations. While a bad game will not be improved by simply adding great art, great art can turn an average game into something special.

Board games, Quo Vadis?

 

Up until some years back, new board game titles still had this aura of novelty about them, at least that was my personal impression. There were still surprises to be had and the market was jampacked with titles that made my eyes gleam whenever I saw them. Something was refreshing about the subject which appeared to capture the imagination of hundreds of thousands, the world over.

Yet now as we approach the end of the 3rd quarter of 2023, I am getting the feeling that the industry is not quite as innovative as it was ten years ago. There is still talent out there, and there are still some exciting titles coming up, but the frequency of them feels less. We are getting “more of the same” as it were.

I am saying this, having seen some recent video blogs that have made me think. The games that are coming out are either a “plastic fest” of miniatures which, from personal experience, will tend to remain bland, grey, and unpainted or behemoths that would need a trolley to carry them around to your next gaming event. There’s also a third category, the expansion packs, just too many of these in my opinion. I ask myself, what’s wrong with the traditional, compact games, in standard-sized boxes we grew up with? Or, better still, those games which used to pack hours of fun in a manageable package? Also, I must add that this race for miniatures and titan-sized packages often inflates retail prices substantially, to the extent that only niche connoisseurs or board gamers with big pockets would dare to invest in them.

There again, I am not stating that there aren’t compact manageable titles out there, only that the industry is offering way too much space to new heavyweights, as it were.

On a personal level, I realised that perhaps it is us board gamers who are to blame for this situation. After all, the market will always respond to the demands and expectations of the clients who will fork out money to purchase a game. This situation then leads to several effects as I will explain hereunder. However, for now, I will just list them in bullet form.

1. -          Games will tend to use mechanisms that have proven to be popular.
2. -          Expansions to existing core games will be favoured over new products.
3. -          Games will copy established IPs to bank on their popularity.
4. -          Games will cater for miniature appetite over game substance.
5. -          Games will be crowdfunded often.

 

Games will tend to use mechanisms that have proven to be popular.

It stands to reason that game designers will try to build products based on mechanisms that have proven popular or are currently the main fad. This could have interesting outcomes but at the same time result in games that feel eerily similar if not identical. Two such games that come to mind are Lost Cities of Arnak and Dune Imperium. I opted to buy the latter, mostly because I happen to be a fan of Frank Herbert’s books. Another pair of games that feel very similar as you sit down to play them are Egizia-Shifting Sands and Imhotep-Builder of Egypt. Both games are strongly themed with Egyptian iconography and art. Both have a sort of queuing mechanism by which players select to visit specific sites to earn points. There are points of difference, for instance, Egizia has a gorgeous, fixed map with iconic ports, where players will place their workers to activate actions and obtain points. Imhotep on the other hand uses large cardboard stock cards to represent the locations, at which boats filled with player resources dock to earn points. Both have a mix of in-game scoring as well as final scoring...indeed these two could be considered cousins if not siblings.

 

Expansions to existing core games will be favoured over new products.

This is perhaps the most obvious and in-your-face tactic adopted by game designers.  Get an existing IP, perhaps a movie or some other franchise which people know about and then design your game around that. Once you establish the base game, then start churning out expansions. The list here is quite substantial but I will just mention Disney Villainous which can be considered as a perfect example of this strategy. So far, the original Disney Villainous has six (6) expansions under its belt. Marvel Villainous on the other hand, which can be considered a spin-off / re-skinning of sorts, already has four (4) expansions. When you consider that the first Villainous came out in 2018, that’s a lot of expansions for one title. It is also not the only board game to get a slew of expansions. Another game, a deck builder, called Ascension has had 15 expansions to date. The somewhat new title Dune Imperium released in 2021 already has three expansions with the third expansion being a standalone while also being an expansion. For the completionists among us, these expansions can be a bane, an expensive one at that. Yet few will find the space and time to play these expansions.

 

Games will copy established IPs to bank on their popularity.

Going back to the game “Villainous” and its Marvel variant, it is not surprising that this title is going strong. Currently, the Marvel franchise is going from strength to strength with Disney further leveraging its strengths through aggressive marketing, a deep schedule of films and TV series and a presence in practically all relevant mediums from comics to toys, to costumes and other paraphernalia. That this spilt over into board games is not surprising at all. Others who may not have direct access to the IP will still try to piggyback on the popularity of the hero genre by creating games that contain hero types and scenarios deeply reminiscent of the Marvel universe. I need to add however that this stratagem is not specifically associated with board game design. Without going into the merits of who came first or who did what, it is a known fact that Marvel and DC comics created several characters based on the other's existing pantheon. So, for instance, Marvel has Namor King of Atlantis and DC has Aquaman King of Atlantis. DC had Dr. Fate and Marvel had Dr. Strange. The list goes on.

On a different note, and if we were to expand the concept of IP to include IPs of established board game franchises, we could mention the Pandemic brand of cooperative games as a further example. There are as, of my last reckoning, 18 titles under this brand, again a substantial list given that the first game came out in 2008. However not to fault Z-man games, they have a substantial portfolio of successful game titles other than just pandemic. I quote the pandemic series of games, more as an example of exploiting a successful IP over time. Furthermore, again to the merit of Z-man games, they did successfully create derivations of the pandemic ruleset rather than just outright resorting to simple reskinning. I like to mention here both Pandemic – Fall of Rome and Pandemic – Rise of the Litch King which both offer familiar though distinct gaming experiences.

 

Games will cater for miniature appetite over game substance.

The use of miniatures in gaming is nothing new. The first tabletop “war games” depended on a slew of miniature soldiers, mounted cavalry, cannons and what have you, to breathe a certain tangible (tactile?) quality into proceedings. Nowadays, while modern war gamers seldom re-enact Napoleonic conflicts, they still utilise the same trappings of the original games. You will still find painted miniature armies of infantry or mounted troops as well as mock-ups of terrain and other obstacles to create visual depth. As you would expect, some fans of these wargames are also avid board gaming enthusiasts and therefore easily lured by the prospect of having miniatures worked into a particular board game title. The same can be said of D&D players, who might already be familiar with the use of miniatures in their campaigns and therefore see these as important contributors towards the appeal of a board game. Unsurprisingly, the number of games out there that rely heavily on miniatures is breathtaking. The ever-popular “Zombicide” franchise throws trays upon trays of miniatures into every box and expansion they churned out. Games from CMON have developed a strong reputation for being miniature-heavy titles. They obviously do not stand alone in this sense.

Personally, I must admit that miniatures do add a little extra oomph to a game, but on the other hand, I still feel that these are not enough to make a game brilliant. Good game mechanisms and a solid ruleset will always triumph over top-notch gaming pieces. As an example, I would like to offer a nod to the Undaunted series of wargames which do not employ miniatures but which, on the other hand, successfully employ cardboard tokens to great effect.

Yet for all their charm, these miniature-heavy games are space hogs and more notably, very steeply-priced. A base or core game could easily set you back €100 on the very lower end of the spectrum with some titles going up to two hundred (200) or three hundred (300) Euro, or more, per box. Add to this that most of these games are followed up with several expansions and you can imagine the real investment that goes into owning and playing these titles.

 

Games will copy established IPs to bank on their popularity.

Here we can list games that copy the looks of another popular board game just to get a leg into the market. For instance, here I will mention Wingspan by Elizabeth Hargreaves published by Stonemeier Games and Birdwatcher by Zakir Jafry published by Oni Games. While the mechanisms used in either board game are noticeably different when you get down to it, the first impression I got when I saw the box for Birdwatcher, was that the latter was some kind of spinoff to the former title. It did not help that Birdwatchers used a similar art style for their bird drawings as you find in Wingspan. You may argue that a bird is a bird, so what could they have done differently? In truth, they could have, for instance, chosen a more modern art style or perhaps opted for minimalism to distinguish themselves from Wingspan. Better still, they could have opted to focus on the birdwatching aspect as inspiration for their box art, maybe focusing instead on birdwatching tools and trappings rather than the birds themselves. In the end, they opted for artwork that is strongly reminiscent of Wingspan. Ironically, while I have opted to invest in Wingspan, I do not exclude purchasing a copy of Birdwatcher if I ever get the opportunity.

Interestingly, my behaviour here leads board game designers and publishers to stick to the tried and tested instead of taking the path less travelled. Yet these same designers/publishers seem to forget that the “original” is seldom dethroned by a contender, no matter how well-packaged the latter might be. Nothing, in my opinion, can beat true originality.

 

Games will be crowdfunded often.

In addition to what I have said so far, there is another element in this equation that in my opinion could be contributing towards the homogenisation of board game content. That factor is crowdfunding. While the notion (i.e., crowdfunding) is indeed brilliant, and gems are published from these ventures, the truth is that the crowdfunded games are generally geared towards the connoisseurs, the board game collectors, or consummate gamers. Basically, those board gamers, with deep pockets, willing to spend a pretty penny to get their crowdfunded games.

Indeed, crowdfunded projects will seldom in my opinion give rise to products one might consider “gateway games”.

To clarify, when I refer to “gateway games”, I refer to those games which have been proven to be particularly easy to teach, are appealing and are priced for casual players. These are games that you will table confidently when inviting casual gamers to a gaming event. Yet, I feel that it is precisely in what one would term “gateway games” that you stand to find the real gems. Furthermore, precisely “gateway” games stand a greater chance of attracting the next generation of players and potential customers. You are not going to do that with something like the gargantuan Gloomhaven, which though beautiful, is just way too niche and specific, to appeal to the casual board game player out there.

The following is a personal thought exercise based on my industry perception. I feel that by focusing on niche markets and assuaging the needs of hardcore board gamers, crowdfunding could well end up crippling innovation and experimentation. The reason is obvious when you think about it, resources spent on managing crowdfunded, content-heavy board games, are effectively being re-routed from other potential ventures. In time as the number of hardcore aficionados will dwindle, there will be no newcomers into the arena, no new players to pick up the mantle. I predict that this will lead to a negative feedback cycle that will see the number of crowdfunded board game projects grow less. This will be followed by a period epitomised by a dearth of new titles and a resurgence in classic board games or reprints of older titles. What could happen after that is anybody’s guess.

And yet, while my impression is that the seeds of the industry’s collapse have already been sowed and are, perhaps inexplicably, being nurtured by a slew of bad decisions, market pointers appear to be stating otherwise. An article in the Washington Post stated that the global board game market currently has an estimated value between $11 billion and $13 billion. The article goes on to say that it is expected to grow by about 7 to 11 per cent over the next 5 years (Research companies Technavio and Imarc).  Yet on the other hand, an article from Licensing International (https://licensinginternational.org/news/board-games-sales-slow-ahead-of-holidays/) back in October last year appeared to be indicating a counter-argument whereby booming demand for board games (spurred no doubt by the lockdowns during the recent COVID pandemic) was showing the first signs of slowing down. Perhaps here it must be read as slowing down to a new, perhaps lower level of consumption now that people have effectively returned to more “normal” daily routines. The same article also suggests that gamers are moving towards purchasing titles they do not own, away from the classics they already own.

Linked to this, a survey site PrintNinja noted that, in a survey they conducted, 41% of respondents claimed to buy anything between 5 to 10 games a year. When you consider the associated demographic and global context, that’s a lot of games per year. Year on year cooperative games have picked up significant steam. The current trends in fact show that these are precisely the type of games most sought after.

Yet what is most notable and ties into the former argument linked to crowdfunding, PrintNinja notes that independent developers have shaken up the market and gained traction for their games through crowdfunding. This does not mean that making a game has been simplified, there are challenges linked to sourcing, developing, and distributing which they too must face. I would like to point out that it is not uncommon for a crowdfunded game to never really see the light of day on account of a failure in a key aspect of its development. Yet the eagerness of board gamers to spend money on these games cannot be underestimated. It is the motivation that leads these independent game designers to try their luck with publishing board game titles.  It’s in fact telling, that 21% of respondents to a PrintNinja survey, indicated that they spend anywhere between $600 to $1000 on board games per year. Equally telling that 41% stated that they purchase games through crowdfunding platforms.

Yet the future of board gaming isn’t bleak, nor is this gaming genre’s demise anytime soon. The reason at the end of the day is very simple. Mankind has played some sort of board game using tokens, a board and some kind of ruleset, for eons. Board games have the power to bring friends and family together over what mounts up to friendly, safe, sandboxed competition. They can also serve as icebreakers when strangers meet up, allowing everyone to connect over a shared activity that is at one time engaging and entertaining. These attributes are not unique to boardgames however as competitive sports have been used for similar purposes over time. Yet board games can be considered more approachable on account that physical prowess is not a necessary contributing factor as would be the case in sporting activities.

This is precisely why I cannot envisage board games ever going totally away. They will persist in some form or other, reflecting the tastes as well as the social and cultural context in which they evolve and thrive. Indeed, the very renaissance in this type of gaming which has brought about the incredible boom we are still experiencing to a degree, is what will guarantee that these plastic, wood, and cardboard wonders will still be around when our great-grandchildren come of age.